Rebecca Clark’s series ‘Seductive Deception’ – photomontages, created by distorting and re-composing isolated parts from photographs of old master paintings, with a new constructed fictional narrative to question the interpretation of original facts and the concept of duality.
“This series of photomontages transform art historical facts into photographic fiction… I use the camera frame to isolate and fragment, removing parts from their original context and reproducing selected facts. The photographs now liberated from the original artworks are subject to interpretation, distortion and manipulation. Elements from various paintings are woven into a constructed narrative that question and subvert the facts of the originals…”
Vincent Fournier’s series ‘Brasilia’ – a record of investigations on the Brazilian capital’s contemporary built city landscape, offering alternative narratives on architecture and environment.
“For me, the city of Brasilia with its radical architecture presents a particular interest in its relationship with time and fiction, like a modernist temple fossilized in a utopian future, which did never happen. Walking down the city transfers us into the spectator of a full-scale film set, feeling like the nostalgia for a future which belongs to the past, mixing fiction and reality, just like the novel Fictions written by Jorge Luis Borges. Brasilia, as other impossible places, evokes a collective dream and allows to imagine fiction.”
Katerina Kaloudi’s series ‘Sea Secrets’ – creating inner realities as ‘mirage’ in a sense of reflecting a mental landscape, through capturing with painterly quality the magical colours of silk waters in the Aegean Sea.
“Not just seeking a captured image but the recreation of an inner state, of an inner feeling that which is taking place between the self and the world around at the specific moment. The photographs are transformed into a new event to be discovered by the viewer. The photographed object becomes a metaphor. I am seeing the photographic process almost in mystical terms. Therefore I now find my subjects often in nature and in other solitary places.”
Tom Hegen’s ‘The Botanical Series’ – aerial view of trees like dots and dashes of Morse code messages written by humans recording stories about our presence on earth and the relationship between man and nature.
“One third of Germany’s surface is covered with forests. Compared to other countries forests in Germany are growing. Most forests are made by man since they have an important commercial value. For successful reforestation tree nurseries contribute by cultivating young plants to then rehouse them in nature.”
Tom Hegen – The Botanical Series
The series is included in a photo book ‘HABITAT‘ which will be published around autumn 2018.
Forced to leave the country as a seven-year-old child, the artist returned to this eerie area of beautiful bubble pockets of water and spectacular steaming gases in the Andes Mountains, to discovery how time and space reshaped perceptions and personal memories.
Luis Lazo – El Tatio El Hombre Que Llora
“My work interweaves, landscapes and portraits to reveal stories of shared experiences in a reflective and hopefully moving manner, capturing the relationship of the human subject in time, history and emotion. My main consideration is to engage and record the silent and fleeting nature of these little moments. To express their importance to me and capture their distinctive spontaneity.”
Patricia A. Bender’s series ‘Euclidean Pursuits’ – photograms of experiments with objects, lines, papers, shapes, light, shadow, texture in constructing a geometric abstract reality with infinite possibilities of conversations between art and emotion.
“For me, photography is nonverbal; words are for ideas, images are for emotions. I hope my images touch a positive emotional chord in the viewer, that viewers somehow connect their lives to my work in a meaningful and powerful way. I am not trying to educate or provoke intellectual rumination or represent reality or inform. I simply want to celebrate life, and the environments we live it in, and to move you”
Brittany Nelson’s ongoing project ‘Mordançage’ – experimenting with toxic chemicals, misusing old photographic alternative techniques and her own process called ‘analog Photoshop filter’ to create bizarre and beautiful abstractions with fascinating textures and patterns.
“Every tool is completely rooted in the history of photography, but I’m trying to cause a sort of implosion on the tradition… I’m taking these processes and removed them from the representational imagery to see if they have any integrity on their own as surface…The abstraction is the easiest thing and the hardest thing to create. It is easy to create abstractions but it is very hard to create effective or relevant ones.”
Brittany Nelson – Mordancage
Mordançage is 19th century film negative reversal process known as etch-bleach but when Jean-Pierre Sudre during the 1960s applied the technique to photographic paper instead of film, he coined the new name. Copper chloride, acetic acid and hydrogen peroxide are mixed together in a dangerous solution. Soaked in it, the silver gelatin paper oxidizes, giving it a degraded effect.
Learn more about Brittany Nelson’s working process at her Creative Capital Retreat’s talk .
Wendi Schneider’s series ‘States of Grace’ – impressions with silken luminosity of the serenity and simplicity of a graceful, organic line and the stillness of a suspended moment.
“I capture the ephemeral movement of light on organic forms, to preserve that mystical moment that stills time for me. Photographing intuitively – what I feel, as much as what I see – and informed by a background in painting and art history, I portray a personal interpretation by layering the images digitally with color and texture, to find balance between the real and the imagined… White gold, silver or 24k gold leaf is applied behind the image. The leafing process suffuses the intrinsic value of the treasured subjects with the implied spirituality of the gold. The perception of luminosity varies as the viewer’s position and ambient light change.”
Risaku Suzuki’s series ‘Sakura’ – the ethereal beauty of the Japanese spirit, captured in out of focus blurred close-ups of cherry blossoms, like tenderly floating haiku about white pink clouds of evanescence melting into the blue celestial background of eternity.
“In “Sakura,” the blossoms of the intersecting branches appear melded together as one, making it difficult to distinguish the foreground from the background. My work is about the experience of time and vision. The beauty of the sakura lies in the brevity of their blossoming, so I must rush to photograph their brilliance and vitality… When I stand under a cherry tree and look up at the blossoms, I always feel as if I’m. The blossoms continue beyond my field of vision, each shimmering so beautifully. It is impossible to see them all.”
Christy Lee Rogers’ series ‘A quarter of a million miles’ – submerged in water bodies and fabrics captured in a dance of vivid colours and complexity like Baroque paintings of gods or mythical creatures “to inspire the idea that there are still mysterious, impossibly beautiful things on Earth—not solely in our imaginations.”
“What I want more than ever is to express and inspire hope and freedom, a sense of wonder and tranquility, to create a safe place to dream wildly.”
Christy Lee Rogers – A quarter of a million miles
Shooting in water and at night, the rules of gravity disappear, and the bodies’ distortion, the contrast of colours and the refracting light, deliver also a message of the fragile nature of humanity.